Director Gus Van Sant (“My Own Private Idaho,” To Die For”) brings his independent and realistic style and sensibility to “Good Will Hunting,” a film written and acted by Matt Damon and Ben Affleck. It’s a marvelous inspirational and fulfilling-your-destiny picture on par with “Rudy.”

Damon plays Will Hunting, a young adult in his late teens who on the service seems like an ordinary blue-collar worker. He’s a janitor at Massachusetts Institute of Technology (M.I.T.). However, in actuality, he’s a genius on par with Einstein or Beethoven. He tries to hide this part of himself because he doesn’t want to be perceived as better than anyone, nor does he want to be utilized as a puppet for someone else’s agenda.

Hunting has been in and out of foster homes since he was a child, having been beaten among other things. He finds solace in his best friends: Chuckie Sullivan (Affleck), Morgan O'Mally (Casey Affleck, brother of Ben) and Billy McBride (Cole Hauser). They don’t treat him like anyone special; to them he’s just their “brother.”

One night, while cleaning the main hallway at M.I.T., Hunting solves an advanced Fourier system (a type mathematical problem) that’s on a chalkboard in the hall. It’s been left by Professor Gerald Lambeau (Stellan Skarsgård), who had previously said to his graduate students, “I’m hoping that one of you might prove it by the end of the semester. Now the person to do so will not only be in my good graces but also go on to fame and fortune by having their accomplishment recorded and their name printed in the auspicious M.I.T. Tech [paper/journal].”

Lambeau tries to find out which one of his students solved the problem, but when noone comes forth, Lambeau decides to put a more complex mathematical problem on the chalkboard, one that took two years to solve.

When Hunting comes to work one night and sees this even more complex problem, he attempts to once again solve it. But this time Lambeau spots him, thinking he’s defacing the chalkboard he tells him to stop. Hunting walks off before Lambeau can confront him. Lambeau is shocked to find out that this seemingly average janitor is much, much more, as he’s solved this even more complex Fourier system.

When Hunting is arrested for hitting a cop, it’s Lambeau that bails him out and makes a deal with the judge to watch over him. However, the catch is Hunting must solve complex problems with Lambeau, while seeing a shrink. He’ll do any problem given to him but refuses to see a shrink. When he’s forced to anyway, he makes life a living hell for each shrink that tries to get in his head.

Having run out of shrinks willing to deal with Hunting, Lambeau seeks the assistance of his long-time friend and community college Professor Sean Maguire (Robin Williams). Williams played a professor before in “Dead Poets Society.” However, this take has much more depth and vitality. Almost like his “Dead Poet’s Society” character, John Keating, has evolved. It’s really interesting comparing the two characters. It really shows how talented Williams is to have played a professor twice but still be able to handle each character differently.

The film works so well because of being grounded in the streets of Boston. This is effectively done with accurate accents and shooting on location. Also, the accompaniment of acoustic songs by Elliott Smith with Danny Elfman’s beautiful score really adds a somber tone to the picture. Elfman's score is also comparable to Jerry Goldsmith's score to "Rudy," not necessarily in execution but certainly in approach to similar material, with regards to the inspirational story that both films have. Finally, the standout performances of Damon and Williams really suck the audience into this world. Both actors have an immediate chemistry, a give and take between teacher and pupil, therapist and client, and finally “father” and “son.”

The ferocity of both Damon and Williams’ performance can be seen in a couple of amazingly well acted scenes. The first being when Hunting first meets Maguire. Hunting antagonizes and provokes Maguire into unleashing the rage within him. Hunting picks apart Maguire’s life like he knows him. But, he goes one step too far when he tries to make an analogy between Maguire’s life and a painting, which leads to Hunting disrespecting Maguire’s deceased wife.

“That’s it, isn’t it?” Hunting continues, “You married the wrong woman. What happened? What, did she leave you? Was she, you know—[Whistling] banging some other guy?” Maguire, grabbing Hunting’s neck and shoving him up against the book shelf, says, “If you ever disrespect my wife again, I will end you. I will fuckin’ end you. Got that, chief?

What’s mesmerizing is how authentic Damon’s expression his as his character’s life is threatened, as well as how after Maguire lets go of Hunting Williams makes his character shrivel up. He’s afraid of what he just did, instantly regretting letting that side of himself out.

The second amazing scene takes place at the two’s next meeting. Maguire meets Hunting at a park fountain. The camera beautifully stays on Maguire throughout the conversation. Maguire talks to Hunting about how he shouldn’t presume to know who people are or what they’re about just because he’s very knowledgeable and analytical. Also, part of the problem with Hunting is that he lacks experience. He may know a lot through reading but he’s too young to fully appreciate or understand certain things in life.

“Thought about what you said to me the other day. About my painting, says Maguire.” “Oh, replies Hunting.” “Stayed up half the night thinking about it, [and] something occurred to me.” Maguire continues, “I fell into a deep, peaceful sleep and haven’t thought about you since. You know what occurred to me?” “No, says Hunting.” “You’re just a kid. You don’t have the faintest idea what you’re talking about, says Maguire.” “Why, thank you, says Hunting.” “It’s all right. Continuing Williams says, “You’ve never been out of Boston.”

Maguire then goes on to giving examples of things he’s done and experienced but that Hunting hasn’t because he’s never been outside of Boston, learned about most everything from books.

Another reason why these two scenes work so well is Sant having cinematographer Jean Yves Escoffier linger on them. This makes the audience really settle in and feel the emotions the characters are going through.

It’s through Maguire and a girl named Skylar (Minnie Driver) that Hunting falls for that he begins to shed his armor and open up. By the end it’s safe to say that Hunting will confront the demons haunting him and will embrace who he is. While the film may seem formulaic, it’s anything but. The thing that’s a joy to watch is Huntings’ journey, as well as the people that shape who he is. It doesn’t really matter where he ends up, just how he gets there.

August 11':
Despite the new Lionsgate Miramax Blu-ray
having double the video bitrate of the 2009 Alliance - the
superiority is not a pronounced as you might expect. It is
definitely better in many respects - less artefacts and noise -
colors are richer and skin tones are slightly warmer - overall
it is darker. I still
don't mind the Alliance but the US 1080P transfer advances in
many other areas as well.

Lossless audio is about the same
on the two new format discs (DTS-HD Masters 5.1 tracks at over
3000 kbps) - well such that I couldn't differentiate much in my
consecutive sampling of both. But the Lionsgate Miramax offers
optional subtitles where the Alliance has none. Both Blu-rays
appear to be region 'A'-locked.

Extras - while the Alliance
hi-def package was bare bones the US Blu-ray
offers all the extras from previous DVD releases including the
commentary, deleted scenes, featurette etc. plus has a Digital
Copy in the case for use with your portable device.

After currency conversion - the
price is about the equivalent but the Lionsgate/Miramax clearly
blows away the Canuck edition in every important category -
making it the recommended purchase. This is still a GREAT
film and we endorse this Blu-ray
for every digital library.

***

ADDITION: Alliance Blu-rayFebruary 09':
This is a decent looking release from Alliance in Canada but we should
note it IS NOT Interlaced
transferred (1080i)
like many of their previous Blu-ray
releases. It is 1080P!

I should state that I cannot verify Joseph's DVD capture method - it
was done years ago (possibly 10!) and I believe this was his only review
for us. I have a hard time believing that even the only anamorphic DVD
of Good Will Hunting looked this poor, but this comparison should
serve more as a review of the
Blu-ray
edition.

The
Blu-ray
is single-layered, bare-bones but seems to hold up the image reasonably
well despite the puny bitrate. Colors and detail are the big winners - great skin tones and solid
detail in close-ups. The DTS sound was a significant boost as even my
ears could detect some buoyancy and more pronounced separation. There
are no subtitles but it does have a standard English 5.1 track and a
French DUB. We lose the good commentary (and anything else) as there are
no extras at all.

I don't know why Canada released
the first (only?) anamorphic DVD of Good Will Hunting or why that
country boasts the first
Blu-ray
(also by Alliance) - perhaps Canadians like the film more?!?
Distribution 101 (who took a while delivering my Blu-rayof Fear and
Loathing in Las Vegas) - have this listed for Feb 17th, 2009 on
Amazon.

It is the
exact same disc! The Canadian edition through Amazon.ca (which does
deliver to the States) is significantly cheaper - without taking into
account the low Canadian dollar - which would make it even a better buy
(around $15 US).

I think the film is a good one
and I enjoyed my
Blu-ray
viewing very much.

Gary Tooze

***

ON THE DVD (1999): The 1.85:1 aspect ratio is perfect for evoking an even further personal connection with the characters. The film has a very nice warm look to it, with colors coming across as very natural and realistic. There’s grain present throughout, as well as numerous instances of specks and dirt from the film source. It would be nice if a new transfer was done, but the film is so good that I often found myself forgetting about these problems. Most are probably a result of the source. However, there is some artifacting in oversaturated scenes (mainly scenes with a golden hue) and some ringing around background edges. Obviously, the bigger the T.V. you have the more distracting these things become.

Note that this transfer covers the Alliance Canadian Region 1 release and is anamorphic, while the U.S. Region 1 release(s) are letterboxed. So, if you have a high definition television make sure to go to a Canadian distribution site to buy this release (it is also sold through 3rd parties on Amazon.com).

The Dolby Digital 5.1 track is also fine for the material. The movie is dialogue driven, with everything else front loaded. There are some instances of the score and ambiance effects going to the rears, but they aren’t anything to write home about. However, they do help draw you into the world. Having a DTS track would be that much nicer, especially for the Elliott Smith songs, but not having one isn’t a big loss.

The main extra feature is the audio commentary by Gus Van Sant, Ben Affleck and Matt Damon. Ben starts it off by saying that this is being recorded for the laserdisc release. They mainly talk about the players who helped make the film, as well as the authenticity of having many local people and local sets utilized for this picture. There’s plenty of trivia talked about because Ben and Matt grew up in the area.

Also, changes to the script are mentioned. The focus of the discussion is on the script, for obvious reasons, being that it won the best screenplay Oscar, and it catapulted Ben and Matt’s careers. Both Ben and Matt talk a lot about Casey Affleck’s performance, as well as Robin Williams.

There’s also talk of homages spread throughout. It’s actually one of the better commentaries I’ve listened to. It’s really like you’re just hanging out with friends but also learning something. It isn’t condescending or overly technical.

The rest of the extras are pretty bland. There’s a 44 second Academy Awards Montage that’s only cool because of the score of “Rudy” being played in the background, but it’s rather superfluous. Then there’s a music video for the Academy Award nominated song “Miss Misery” by Elliott Smith; it’s really bland and boring, showing Smith walking in a white suit while singing. Finally, there are some trailers for the film and biographies.